Guillermo Barreto

Percussionist of Cuban origin. He became a notable percussionist, one of the best of all time. He became an extraordinary percussionist who stood out as one of the great Cuban drummers, developing a very rich musical career.

He was born in La Habana. He received his first music lessons from his father. He studied piano for three years: 1943-1946, with maestro Rafael Ortega. Years later Barreto would say:

«...I cannot imagine a good percussionist unfamiliar with the piano. There is an enormous connection between this instrument and the drums. They work together, with the bass. Currently, that knowledge helps me a lot in arrangements. And I always play it a bit. Perhaps I am a frustrated pianist».

Regarding his qualities as a percussionist, Armando Romeu stated: «In percussion not everything is studied in books. And he has a privileged musical ear. [...]. He is an excellent sheet music reader and understands anything at first sight. I have been conducting orchestras for more than fifty years and it is not easy to find a percussionist of his caliber [...]. One of his greatest assets is rhythmic stability. Since he knows how to work with large orchestras, he completely supports the brass section. For example, in jazz arrangements the trumpets are generally high-pitched and if you don't have a capable drummer behind them, with the same force, an imbalance arises. That does not happen with Barreto [...].» «My preferred instrument —said Barreto— is the drum. It is exciting, charismatic. However, in the world I am known more as a timpani player.»

He first learned the drum; in the 40s he played drums in the Cabaret Tropicana orchestra that was then directed by Armando Romeu. Later he worked in the Sans-Souci orchestra, which was headed by Rafael Ortega.

In 1957 he joined Bebo Valdés' orchestra which performed at the Sevilla Biltmore.

Regarding the importance of the percussionist as an accompanist, Barreto would specify:
«I have never been interested in solos. I like working with groups. I am an accompanying percussionist and I enjoy it by offering a foundation to the soloist, so they feel comfortable. Americans call that "keeping time". I avoid "hitting sticks for the sake of it" [...]. One cannot cover, with a supposed virtuosity in percussion, a singer or another solo instrument. One of the fundamental contributions of percussion lies in respect for melody [...]. One must play with grace. Know how to manage a measure of decibels, so as not to interfere with our performance [...].»

Barreto worked at Radio Lavín, Cadena Habana and Mil Diez, with the orchestras of Obdulio Morales, Mariano Mercerón, Generoso Jiménez and Roberto Valdés Arnau. At Tropicana and Sans-Souci he performed alongside Nat King Cole, Lucho Gatica, Johnny Richards, Stan Getz, Tito Puente, Tommy Dorsey and Billo Frómeta; he substituted once for percussionist Buddy Rich, from Tommy Dorsey's orchestra.

With the Orquesta Sinfónica Nacional he served as a soloist in Leo Brouwer's works Dos conceptos del tiempo, and in Ad libitum, by Sergio Vitier, danced by Alicia Alonso and Antonio Gades.

Furthermore, he was part of the groups Los Amigos, by Frank Emilio, and ORU, directed by Sergio Vitier.

During 40 years of artistic life "Barretico" played with many of the great Cuban musicians including:
Bebo Valdés (piano); Virgilio Vixama, Rafael 'Cabito' Quesada, Gustavo Mas (saxophone); Alejandro 'El Negro' Vivar, Luis Escalante (trumpet); Generoso Jimenez 'El Tojo' (trombone); Enrique 'Kike' Hernandez (bass guitar); Rolando Alfonso (congas), Amelita Frades, Amado 'Guapacha' Borcela, Eddy Alvarez, Fernando Alvarez, Miguelito Cuni, Omara Portuondo, Orlando Vallejo, Pacho Alonso, Pío Leyva, Rolando LaSerie, Celeste Mendoza (vocalists), Tata Güines (tumbadora), Papito Hernandez (bass), Gustavo Tamayo (guiro), Frank Emilio Flynn (piano), Orlando Lopez (bass), Guillermo Valdes (tumbadora, bongo), Carlos Emilio (electric guitar).

Without abandoning Los Amigos, he was one of the great founders of the Orquesta Cubana de Música Moderna, along with Chucho Valdés, Enrique Plá, Paquito de Rivera, Carlos del Puerto, and Carlos Emilio Morales. The "duels" between Plá and Barreto were anthological. That orchestra refreshed the island's musical landscape rich in rhythms (Mozambique, Pilón, Pa´ca, Simalé, Dengue) and brought to the fore young musicians who would make history in later years.

Barreto continued his course and served as producer on the albums Aché and Aché II, by his life partner Merceditas Valdés.

Hilario Duran introduced him to Canadian flautist Jane Bunnett. Both participated in his famous recording "Spirits of Havana".